How has your design process changed since you worked on Dr. Jekyll and Mr. Hyde?
 
Dr. Jekyll and Mr. Hyde feels like a lifetime ago. Since then, I’ve grown so much as a designer, artist, and collaborator. My process is now far more integrated—more research-driven, more dramaturgically focused, and much more rooted in communication with the full creative and production team. I’m always looking for deeper storytelling opportunities in the physical environment.
 
What excited you about the world of Gaslight? What was your main inspiration?
 

I was really drawn to the atmosphere of late-1800s New York homes—the textures, rich colors, and architecture, as well as the sense of elegance that hid tension just beneath the surface. The period details offered a rich palette to build from, but I was especially excited about shaping the emotional landscape of the house, not just its historical look.

 

Any set secrets you’d like to share with the audience about Gaslight or Dr. Jekyll and Mr. Hyde? 

For Gaslight, we initially explored incorporating Victorian birdcage motifs—tall, delicate vertical elements that created a sense of confinement. Ultimately, the idea evolved into exposing the raw vertical framing of the home itself. It felt truer to the story: revealing the skeleton of the house, and with it, the unsettling truths stirring within its walls.